despub courier by Debora Okdila - issuu issuu •COURIER• C ourier is a monospaced slab serif typeface designed to resemble the output from a strike-on typewriter. The typeface was designed by Howard "Bud" Kettler in 1955. The design of the original Courier typeface was commissioned in the 1950s by IBM for use in typewriters, but they did not secure legal exclusivity to the typeface and it soon became a standard font used throughout the typewriter industry. As a monospaced font, it has recently found renewed use in the electronic world in situations where columns of characters must be consistently aligned. It has also become an industry standard for all screenplays to be written in 12 point Courier or a close variant. The font was later redrawn by Adrian Frutiger for the IBM Selectric Composer series of electric typewriters. 12 point Courier New was also the U.S. State Department’s standard typeface until January 2004, when it was replaced with 14 point Times New Roman.

Reasons for the change included the desire for a more “modern” and “legible” font.[1][2] Kettler was once quoted about how the name was chosen. The font was nearly released with the name “Messenger.” After giving it some thought, Kettler said, “A letter can be just an ordinary messenger, or it can be the courier, which radiates dignity, prestige, and stability. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 . , ’ ” ; : ? ! Debora Okdila/42408152 Serif fonts for designers Search for: Serif fonts for designers With the thousands of different typefaces available, it’s critical to have a select few that act as the base of your collection. Listed below are dozen popular fonts ( and a little history ) that you’ll find in many designs.

Bembo Bembo is the name given to an old style serif typeface based upon a face cut by Francesco Griffo, first printed in February 1496 (1495 more veneto). Griffo worked in the Venetian press of the humanist printer Aldus Manutius. The face was first used in the setting of book entitled De Aetna, a short text about a journey to Mount Aetna written by Italian Cardinal Pietro Bembo. The typeface would serve as a source of inspiration for typefaces of the Parisian publisher Claude Garamond, that are collectively called Garamond. The typeface Bembo we see today is a revival designed by Stanley Morison for the Monotype Corporation in 1929. Read more about Bembo. Bodoni Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as didone modern.

Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Read more about Bodoni. Caslon Caslon refers to a number of serif typefaces designed by William Caslon I (1692–1766), and various revivals thereof. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterised by short ascenders and descenders, bracketed serifs, moderately-high contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon’s italics have a rhythmic calligraphic stoke. Characters A, V, and W have an acute slant. The lowercase italic p, q, v, w, and z all have a suggestion of a swash. Read more about Caslon.

Clarendon Clarendon is an English slab-serif typeface that was created in England by Robert Besley for the Fann Street Foundry in 1845. Besley went as far as trying to patent the typeface, and Clarendon is now known as the first registered typeface. However, the patents at the time lasted only three years; as soon as the typeface became popular, it was copied by other foundries. The original matrices and punches remained at Stephenson Blake and later resided at the Type Museum, London. They were marketed by Stephenson Blake as Consort, though some additional weights (a bold and italics) were cut in the 1950s. It was named after the Clarendon Press in Oxford. The typeface was reworked by the Monotype foundry in 1935. It was revised by Hermann Eidenbenz in 1953. Courier Courier is a monospaced slab serif typeface designed to resemble the output from a strike-on typewriter. The typeface was designed by Howard “Bud” Kettler in 1955.

The design of the original Courier typeface was commissioned in the 1950s by IBM for use in typewriters, but they did not secure legal exclusivity to the typeface and it soon became a standard font used throughout the typewriter industry. As a monospaced font, it has recently found renewed use in the electronic world in situations where columns of characters must be consistently aligned. It has also become an industry standard for all screenplays to be written in 12 point Courier or a close variant. Read more about Courier. Excelsior Excelsior is a serif typeface, designed by Chauncey H. Griffith, and presented by Mergenthaler Linotype in 1931. It is one of five typefaces in Griffith’s ‘Legibility Group’ which contains typefaces especially well-suited to newsprint. Before designing this font, Griffith consulted the results of a survey of optometrists regarding optimal legibility. Opticon and Paragon were released in 1935 as slightly heavier and slightly lighter versions of Excelsior designed for newspapers that deliberately underink to favor halftones, or overink to favor text and headlines.

The News 702 typeface by BitStream is almost identical to Excelsior. Garamond Garamond is the name given to a group of old style serif typefaces named for the punch-cutter Claude Garamond (c. 1480-1561). A majority of the typefaces named Garamond are more closely related to the work of a later punch-cutter Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Sabon, Granjon, Stempel Garamond, and Adobe Garamond. Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Lucida Lucida is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes in 1985. There are many variants called Lucida, including scripts (Blackletter, Calligraphy, Handwriting), serif (Fax, Bright), and sans-serif (Sans, Sans Unicode, Grande, Sans Typewriter).

Bigelow & Holmes, together with the (now defunct) TeX vendor Y&Y, extended the Lucida family with a full set of TeX mathematical symbols, making it one of the few typefaces that provide full-featured text and mathematical typesetting within TeX. Read more about Lucida. Minion Minion is the name of a typeface designed by Robert Slimbach in 1990 for Adobe Systems. The name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevier. It is inspired by late Renaissance-era type. A unique feature is the support of Regular and Display optical sizes in Regular and Italic fonts. Different optical sizes have different stroke contrasts and details, designed to optimise texts for specific applications. Minion Black does not have italic counterpart. Read more about Minion. Perpetua Perpetua is a typeface that was designed by British sculptor, typeface designer, stonecutter and printmaker Eric Gill (1882–1940).

Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms. Gill began work on Perpetua in 1925 at the request of Stanley Morison, typographical advisor to Monotype. Morison sought Gill’s talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239. Gill designed two companion faces for Perpetua. The first was a typeface called Felicity. That design was met with mixed reactions. A second italic, called Perpetua Italic, was drawn by Gill and subsequently issued by Monotype along with Perpetua Roman.

Sabon Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold (1902–1974) in the period 1964–1967. The typeface was released jointly by the Linotype, Monotype, and Stempel type foundries in 1967. Design of the roman is based on types by Claude Garamond (c.1480–1561), particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques Sabon, the source of the face’s name. The italics are based on types designed by a contemporary of Garamond’s, Robert Grandjon. The typeface is frequently described as a Garamond revival. An early first use of Sabon was the setting of the Washburn College Bible in 1973 by the American graphic designer Bradbury Thompson. All books of the King James biblical text were set by hand in a process called thought-unit typography, where Thompson broke the lines at their spoken syntactical breaks.

Trajan Trajan is an old style serif typeface designed in 1989 by Carol Twombly for Adobe. The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name. Since lower case forms were not in use in Roman times, Trajan is an all-capitals typeface. Instead, small caps are commonly used, and a more complete set of glyphs contained in Trajan Pro (a 2001 update of the original typeface) includes a lower case of small caps. All images and descriptions are courtesy of Wikipedia . What are your thoughts? What are your go to fonts? If you have another font that you think should be on this list let me know. Courier (typeface) Courier (typeface) Date released 1955 Courier is a monospaced slab serif typeface designed to resemble the output from a strike-on typewriter . The typeface was designed by Howard “Bud” Kettler in 1955, and it was later redrawn by Adrian Frutiger for the IBM Selectric Composer series of electric typewriters.

Although the design of the original Courier typeface was commissioned by IBM , the company deliberately chose not to secure legal exclusivity to the typeface and it soon became a standard font used throughout the typewriter industry. Because IBM deliberately chose not to seek any copyright, trademark, or design patent protection, the Courier typeface cannot be trademarked or copyrighted and is completely royalty free. As a monospaced font, in the 1990s, it found renewed use in the electronic world in situations where columns of characters must be consistently aligned. It has also become an industry standard for all screenplays to be written in 12- point Courier or a close variant. 12-point Courier New was also the U.S. State Department ‘s standard typeface until January 2004, when it was replaced with 14-point Times New Roman . Reasons for the change included the desire for a more “modern” and “legible” font. [1] [2] [3] Kettler was once quoted about how the name was chosen.

The font was nearly released with the name “Messenger.” After giving it some thought, Kettler said, “A letter can be just an ordinary messenger, or it can be the courier, which radiates dignity, prestige, and stability.” [2] Contents Availability Sample of the original IBM Courier IBM made Courier freely available in Postscript Type 1 format. Known as IBM Courier or simply Courier, it is available under the IBM/MIT X Consortium Courier Typefont agreement. [4] Variants Proprietary Courier New “Courier New” is a version produced by Monotype . Courier New was “digitized directly from the golf ball of the IBM Selectric “; this process resulted in some very thin outlines, because the typewriter’s ball was designed deliberately thinner than the intended character stroke width since these expand as ink soaks into the paper. [5] It is unpopular and many programmers recommend avoiding it: programmer and blogger John Gruber described it as “a wretched variant of Courier; anemic and spindly.” [6] The font family includes Courier New, Courier New Bold, Courier New Italic, Courier New Bold Italic. Courier New features higher line space than Courier. Punctuation marks are reworked to make the dots and commas heavier.

Courier New was introduced with Windows 3.1 , which also included raster Courier fonts. The fonts were also sold commercially by Ascender Corporation . The Ascender fonts have ‘WGL’ at the end of the font name, and cover only the WGL characters. Courier New is used as the default font for monospace/modern generic font family in MS Windows (since Windows 3.1). It is commonly used as the font for plain text email messages. Version 2.76 or later includes Hebrew and Arabic glyphs, with most of Arabic added on non-italic fonts. The styling of Arabic glyphs is similar to those found in Times New Roman , but is adjusted to be monospaced. Courier New has been updated to version 5.00, which includes over 3100 glyphs, covering over 2700 characters per font. Because the outlines of Courier New were so thin, a special hack was added for them in ClearType , thickening them in order to make them readable using the new rendering technology. [5] Code variants Courier New Baltic, Courier New CE, Courier New Cyr, Courier New Greek, Courier New Tur are aliases created in the FontSubstitutes section of WIN.INI .

These entries all point to the master font. When an alias YEW font is specified, the font’s character map contains a different character set from the master font and the other alias fonts. Courier Final Draft Courier Final Draft is a version of the typeface with a slightly altered pitch (spacing of characters) and slightly heavier stroke than Courier New, in order to approximate the output of an ink typewriter. Courier Final Draft is supplied with screenwriting program Final Draft for use in writing screenplays, as it provides 55 lines per page which coincides with the rule that a screenplay page is approximately one minute of screen time. [7] Dark Courier Dark Courier is a TrueType font from HP that is distributed freely (in the form of a Microsoft Windows -only installer, though the font will work on other systems), for those who feel the appearance of Courier New is too thin. Courier Standard Courier Standard, Courier Standard Bold, Courier Standard Bold Italic, Courier Standard Italic are fonts distributed with Adobe Reader 6, as a replacement for the PostScript Courier fonts. The stroke terminators are flat instead of round. It contains code pages 1252, Windows OEM Character Set. The font is Hinted and Smoothed for all point sizes.

It contains OpenType layout tables aalt, dlig, frac, ordn, sups for Default Language in Latin script; dlig for TUR language in Latin script. Each font contains 374 glyphs. Free/open source Courier 10 Pitch BT Comparison of the typefaces Courier 10 Pitch and Courier Code. From left to right the characters are: zero, capital O, one, lowercase L. This is Bitstream ‘s version of the classic typeface, available in Type 1 format. It has been donated to the X Consortium by Bitstream (along with Bitstream Charter ) and is thus freely available. It is the default Courier font on most Linux distributions. Courier Code is a variant of Courier 10 Pitch more suited for programming. The zero is dotted to better distinguish it from the capital O. The lowercase L has been altered to better distinguish it from the number one. The leading has been increased slightly as well. Courier Prime Courier Prime matches the metrics of Courier and Courier Final Draft, with some design changes and improvements aimed at greater legibility and beauty. It was designed by Alan Dague-Greene with funding from John August , and released in January 2013 under the SIL Open Font License .

[8] The family was extended with sans-serif and code versions in 2016. Nimbus Mono L URW++ produced a version of Courier called Nimbus Mono L in 1984, and eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996. [9] [10] [11] It is one of the Ghostscript fonts, a free alternatives to 35 basic PostScript fonts (which include Courier). It is available in major free and open source operating systems. TexGyreCursor , developed by GUST (“the Polish TeX Users Group”), is based on the URW Nimbus Mono L typeface. FreeMono , a free font descending from URW++ Nimbus Mono L, which in turn descends from Courier. [12] [13] It is one of free fonts developed in GNU FreeFont project, first published in 2002. It is used in some free software as Courier replacement or for Courier font substitution. Alternatives and derivatives Liberation Mono is a metrically equivalent font to Courier New developed by Ascender Corp. and published by Red Hat in 2007 under the GPL license with some exceptions.

[14] It is used in some GNU/Linux distributions as default font replacement for Courier New. [15] Applications In Latin 1 text Courier is commonly used in ASCII art because it is a monospaced font and is available almost universally. “Solid-style” ASCII art uses the darkness/lightness of each character to portray an object, which can be quantified in pixels (here in pt. 12): a The Most Famous Type Designers You've Never Heard Of | Communication Arts The Most Famous Type Designers You've Never Heard Of The Most Famous Type Designers You've Never Heard Of By Allan Haley Howard George “Bud” Kettler drew one of the most important, and most widely used, typefaces of the twentieth century—but you’ve probably never heard of him. You do, however, know his famous design. For decades, Kettler’s Courier typeface was used by more people, for more documents, than Times New Roman and Helvetica combined. Kettler designed his monospaced slab serif typeface in 1955 to resemble the output from a strike-on typewriter.

Although IBM commissioned the original Courier, the company deliberately chose not to retain legal exclusivity to the design, and Courier soon became a de facto font used throughout the typewriter industry. In the 1980s and 1990s, Courier extended its use into the electronic world, in situations where columns of characters needed to be consistently aligned. Twelve-point Courier New served as the standard document typeface for the U.S. Department of State until 2004, when it was replaced with 14-point Times New Roman. Many typeface designers fall into the category of “anonymous typographic ubiquity.” Among them are a British designer who drew what is arguably the most used sans serif in the digital age; a design educator who is now in his fourth decade of creating award-winning typefaces; a pair of designers whose typefaces for computer operating systems are still in use today; and a former stencil cutter and letter drawer who now has her own foundry. The typographic community has a rich history of famous designers known by few outsiders.

FOUNDRY MAN Robin Nicholas drew a typeface that has been used almost as extensively as Bud Kettler’s Courier, and he has worked with fonts and typefaces nearly all his adult life. Nicholas joined the Monotype Type Drawing Office in 1965 while still a teenager. Over time, Nicholas became manager of the Type Drawing Office, and he subsequently served as the head of typography at Monotype until he retired in 2012. In his career, Nicholas designed such major commercial releases as the Nimrod, Felbridge and Ysobel typeface families. He also design-directed projects that culminated in important Monotype typefaces, including Clarion and Columbus. Nicholas’s most famous (the uninformed might say infamous) typeface is Arial. Although it may be one of those bland typefaces that graphic designers love to hate, Arial is also, arguably, the most used sans serif typeface in the world, surpassing Helvetica, Akzidenz-Grotesk and Gotham combined. In the early 1980s, Xerox and IBM introduced the first laser printers, huge machines that were closer in size to a Mack truck than to the diminutive offspring we use today.

So in addition to typefaces that imitated the customary monospaced strike-on data-processing fonts (like Courier), Xerox and IBM wanted “typographic” fonts for their new machines, opening the market to new designs beyond popular standards like Times New Roman and Helvetica. Monotype’s answer was based on a 1956 revival of Monotype Grotesque, a type design first drawn in the early twentieth century. This early Monotype design had roots in H. Berthold’s Ideal Grotesk, which, in turn, was a version of Venus from the Wagner & Schmidt foundry of Leipzig. Was Arial drawn to compete with Helvetica? Sure. Does it look a lot like Helvetica? Right again. But then, Helvetica was a renaming of Neue Haas Grotesk, and that, in turn, is a pretty close cousin to Berthold’s Akzidenz Grotesk family, which was an agglomeration of typefaces from several other foundries and a competitor to the Venus family. What about Microsoft and Arial? It wasn’t until almost a decade after IBM used the family that Microsoft wanted TrueType fonts of Arial for its new Windows 3.1 operating system.

By then, Arial was firmly established as an alternative to Helvetica. SERBIAN PRODIGY Aaron Burns, eminent typographer and founder of the International Typeface Corporation (ITC), introduced Jovica Veljovic to Herb Lubalin in the spring of 1981. Like many young lettering artists of the time, Veljovic dreamed of working in Lubalin’s studio in New York. But on top of having no money and not knowing anyone in the city, he lived in Serbia. It was an introduction from his teacher, the great Israeli typographer Henri Friedlaender, and the generosity of Burns, who paid for Veljovic’s trip, that made a meeting with Lubalin and Ed Benguiat possible. The meeting went well, and it was clear that Lubalin wanted to hire Veljovic, but this was not to be. Lubalin was losing his battle with cancer. “Although Ed Benguiat asked which desk to set up for me,” recalls Veljovic, “it was obvious that my dream of working for Lubalin would soon be over.” Back in ITC’s offices, Burns and Veljovic talked about the designer’s future.

“Aaron suggested that I go back to Belgrade and try to design a typeface for ITC,” Veljovic reminiscences. “I will never forget the pile of specimen books, old and new, lying on his desk during our conversation. And I wondered, ‘How can I design a new typeface when so many are already existing in these books? Where can I fit in?’ I was scared and determined at the same time. And I did not want to disappoint Aaron. I sensed that he trusted me.” Veljovic returned home and began to teach himself how to design a typeface. He submitted his first to ITC the following year, and it was released in 1984, bearing his name. ITC Veljovic was followed by ITC Esprit and ITC Gamma. His later releases include Ex Ponto, an early multiple master design for Adobe, as well as Silentium and Sava. Recently, Veljovic has designed Libelle, Agmena and Veljovic Script for the Linotype library (now owned by Monotype). Veljovic also completed a reimaging and updating of his first two ITC designs.

Veljovic’s faces have won numerous awards, including special recognition from the Association Typographique Internationale and the Type Directors Club. Although his earlier designs continue to have modest sales, Veljovic’s more recent typefaces, such as the classic Agmena design and his two new scripts, Libelle and Veljovic Script, are enjoying well-earned popularity by a wide variety of users, especially in Europe. DYNAMIC DUO Kris Holmes and Charles Bigelow have been business partners for almost 40 years. Their typeface designs have been licensed more than a billion times. (That’s not a typo. A billion, with a b… as in “big.”) Holmes and Bigelow both attended Reed College in Oregon, and they credit Lloyd Reynolds’s class in calligraphy for igniting their love of letters. But they pursued their shared passion for the craft of typeface design in separate directions. Bigelow studied typography and was the teaching assistant for Jack Stauffacher at the San Francisco Art Institute from 1967 to 1969. Bigelow acknowledges, “Jack and his teaching are what got me interested in typography and type design.

He also introduced me to other type designer friends of his and their work, Hermann Zapf, Adrian Frutiger and André Gürtler.” Both Bigelow and Holmes took an intensive workshop at Reed with Father Edward Catich, who taught them brush-written Roman capitals. “I also studied typography with Clyde Van Cleve, a fine graphic designer, in Portland, Oregon,” explains Holmes. “Later, in New York, I took a lettering class at the School of Visual Arts from Ed Benguiat, where I learned his impeccable techniques for finish work.” In 1979, she took a workshop with Hermann Zapf at the Rochester Institute of Technology. Holmes’s typefaces have legs. She drew ITC Isadora, her first typeface, in 1980, and it’s still popular and fresh. This is especially remarkable when you consider that it was designed for one of the manufacturers of early digital typesetters. “I had to struggle to keep the face dynamic when reduced to digital rasters,” she recalls. It is Holmes’s collaboration with Bigelow on Lucida, however, that produced a super-family of typefaces that staggers the imagination with its range of use.

According to Bigelow, “Lucida has been distributed in more than a billion copies by Microsoft, Apple and Oracle, as well as in smaller numbers on other platforms, so we count it as a success.” By anyone’s definition, the Lucida family is one of the most successful typeface designs of all time. In 1990, the duo took on another project with epic results, this time for Apple. They were asked to create digital outline TrueType fonts for four original Macintosh bitmap “city” fonts: Chicago, Geneva, New York and Monaco. Susan Kare, designer of the original bitmap fonts, had left Apple, and the company wanted a TrueType variety of those typefaces for the Macintosh System 7. The fonts would continue to be provided through Apple’s OS X 10.10. FOUNDRY BUILDER When Freda Sack was working freelance in the early 1980s, she created type artwork for Erik Spiekermann and Matthew Carter. “I learned so much by working from their sketches and drawings that I considered them my mentors,” she says. Ten years earlier, Sack’s first job out of college had been with Letraset, in the Waterloo district of London.

“The studio manager set me the task of retouching photographic negatives that were to become the letter-masters for the Letraset type library,” she says. “The work wasn’t much fun. It had little to do with design, and even less with lettering, but the job was a necessary step toward getting my union card and a position in the design studio.” After a year spent applying opaque to dust specks on film negatives, Sack began her apprenticeship as a type designer. She came to understand the subtle proportions of letter shapes, developed precise drawing skills and mastered the technique of cutting characters out of photo-masking film. She also became discerning about the intricate and far-reaching design decisions that separate designing a typeface from merely drawing pretty letters. Colin Brignall, director of Letraset’s design studio at the time, recalls, “We trained many lettering artists, but there is something magic—more than just learned craft—about typeface design. Early on, I could see that magic in Freda’s work.” In 1989, Sack and her business partner, David Quay, launched The Foundry in London with just two typefaces: Foundry Sans and Foundry Old Style.

Since then, its typeface library has grown into a unique suite of typefaces, covering a range of languages and formats. In the succeeding years, The Foundry has continued to add to its designs and today offers more than 100 typefaces. The Foundry collection features text and display typefaces, many with extensive character sets supporting all Latin-based European languages and some with support for Greek and Cyrillic. These typefaces have long been regarded as staples of graphic and brand design in the United Kingdom and Europe. LOW PROFILE, HIGH PERFORMANCE If there is one thing that unites these fine practitioners of the typographic arts—in addition to their extraordinary capabilities as typeface designers—it is their view of why they work. They approach typeface design as craftspeople and are acutely aware that the products they produce are tools for others to use. They may not be the rock stars of type, but they are clearly part of the rock solid foundation of the typographic community. ca Allan Haley is a storyteller and a consultant with expertise in fonts, font technology, type and typographic communication. He held the position of director of words and letters at Monotype for fifteen years and has six books and hundreds of articles to his credit.

He is a past president of the Type Directors Club and was executive vice president of International Typeface Corporation. Related The origin of typefaces – The Charlatan admin Helvetica is a sans serif that was developed in 1957 by Swiss typeface designer Max Miendinger. At the time of its development, Helvetica was seen as a very modern typeface and was quickly embraced by many designers throughout the 1960s and 1970s. It remains popular with designers, and was the subject of the 2007 documentary Helvetica. Times New Roman is a serif typeface developed by British newspaper The Times in 1931. The paper felt it needed to modernize its type and increase readability. Times New Roman remains one of the world’s most popular fonts, and is frequently the type of choice when printing paperback books. Futura is a sans serif typeface developed in the 1920s by Paul Renner. It is often cited as the starting point for modern sans serif typefaces. It features unusual letter shapes that follow a strict geometric outline. Futura remains a popular typeface, used by companies such as Volkswagen and Bell Canada. Courier is a serif typeface with an old-school look.

It was created in 1955 by IBM for use in the company’s typewriters and became the standard typeface in the typewriter industry after IBM failed to acquire exclusive rights to the type. Its slab serif design features thick, block-like serifs that differentiate it from modern sans-serif typefaces. Garamond is a serif typeface created in the 16th century by typographer Claude Garamond. Its features give a sense of fluidity that differentiate it from other typefaces designed at the time. It was updated in 1977 by typographer Tony Stan, who created ITC Garamond in order to give the typeface an updated and more modern look. – source: urbanfonts.com Websafe fonts Websafe fonts – which one shall I take? serif Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. Serif fonts are widely used in traditional printed material such as books and newspapers. The conventional wisdom holds that serifs help guide the eye along the lines in large blocks of text.

Due to the basic constraint of screen resolution – typically 100 pixels per inch or less, the serifs in some fonts can be difficult to discern on screen. Georgia Georgia is designed for clarity on a computer monitor even at small sizes, partially effective due to a large x-height. The typeface is named after a tabloid headline titled "Alien heads found in Georgia." Palatino Linotype, Book Antiqua, Palatino Palatino Linotype is a version of the Palatino family that incorporates extended Latin, Greek, Cyrillic characters, as well as currency signs, subscripts and superscripts, and fractions. The family includes roman and italic in text and bold weights. It is one of the few fonts to incorporate an interrobang . Times New Roman, Times Times New Roman is a typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype. Although no longer used by The Times, Times New Roman is still frequent in book typography, particularly in mass-market paperbacks in the United States. sans-serif Traditionally sans-serif fonts are used for headlines rather than for body text.

However, it has become the de facto standard for body text on-screen. Before the term "sans-serif" became standard in English typography, a number of other terms had been used. One of these outmoded terms for sans-serif was gothic, which is still used in East Asian typography and sometimes seen in font names like Century Gothic or Trade Gothic. Arial, Helvetica Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions. Arial Black, Gadget This weight is known for being particularly heavy. This is because the typeface was originally drawn as a bitmap, and to increase the weight, stroke widths for bold went from a single pixel width to two pixels in width. Impact, Charcoal Impact is a realist typeface designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry. Its ultra-thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to "impact". Lucida Sans Unicode, Lucida Grande The font comes pre-installed with all Microsoft Windows versions since Windows 98.

A nearly identical font, called Lucida Grande, ships as the default system font with Apple's Mac OS X operating system, and in addition to the above, also supports Arabic and Thai scripts. Tahoma, Geneva Similar to Verdana, Tahoma has a narrower body, less generous counters, much tighter letter spacing, and a more complete Unicode character set. Tahoma was first designed as a bitmap font, and TrueType outlines were "carefully wrapped" around those bitmaps. Trebuchet MS Designed by Vincent Connare for the Microsoft Corporation in 1996. It is named after the trebuchet, a medieval catapult. The name was inspired by a puzzle question that Connare heard at Microsoft headquarters: "Can you make a trebuchet that could launch a person from main campus to the new consumer campus about a mile away? Mathematically, is it possible and how?" Connare "thought that would be a great name for a font that launches words across the Internet" Verdana Verdana was designed to be readable at small sizes on a computer screen. The lack of serifs, large x-height, wide proportions, loose letter-spacing, large counters, and emphasized distinctions between similarly-shaped characters are chosen to increase legibility.

monospace Monospace is a fixed width font whose letters and characters each occupy the same amount of horizontal space. This contrasts to variable width fonts, where the letters differ in size to one another. Courier New, Courier Designed to resemble the output from a strike-on typewriter. The typeface was designed by Howard "Bud" Kettler in 1955. The design of the original Courier typeface was commissioned in the 1950s by IBM for use in typewriters, but they did not secure legal exclusivity to the typeface and it soon became a standard font used throughout the typewriter industry. Lucida Console, Monaco It is a variant of Lucida Sans Typewriter with smaller line spacing, and added WGL4 character set. About All the listed fonts are quite safe to use in your web design as they are common in both Windows, OS X and Linux. When two or more fonts are listed in the same section it means that they are related by look and shape. Include all of them when you declare font styling to provide fallback options for users who might miss one of them.

Courier , that was introduced in 1961 featuring a moving carriage with an interchangeable spherical printing element (frequently called a "typeball"). Courier was later adapted for Adobe's Type 1 font technology used in PostScript (→) , which was first used by the Apple LaserWriter and now serves as the standard language in the printing industry. In 1992, Courier was then adapted for the TrueType (→) format (an outline font standard developed by Apple and Microsoft in the late 1980s as a competitor to Adobe's Type 1 fonts used in PostScript) and released under the Name "Courier New" with Windows 3.1x, furthering the propagation and success of the typeface. Courier has since been adapted and released under many different names and numerous different forms. While slightly differing from each other, their respective skeleton still resembles the very first Courier by Howard G. Kettler. Howard G. Kettler Howard G. Kettler was born in Lexington, Kentucky in 1919. He first came into touch with typography and design by being a cartoonist for The Crimson & Gold school newspaper when he was enrolled in New Bremen High School.

After serving in the US Navy during World War II, Kettler worked as a postal clerk at the New Bremen Post Office before taking over the management of The Home Printing Company, publishers of The New Bremen Sun (→) on January 1st, 1948. On July 15th, 1948 the name of the business was changed to "The Sun Printing Co" and on September 15, 1949, Kettler was listed as editor of the paper. 1950, Kettler started building a new concrete block building, where he conducted the printing business from September 21, 1950, which led him to become familiar with operating Linotype Machines , sparking his interest in typography. On October 1, 1952, Kettler sold the business to L.T. Stanley of Cincinnati and accepted a position as type designer with IBM in Poughskeepsie, New York (→) .

Kettler was eventually given the responsibility for training by IBM, which led him to produce a type-design tutorial book and organize lectures at the University of Kentucky, on the history of text imaging and calligraphy by the world's leading type designers, including Adrian Frutiger IBM Braille Writer . When asked what he was going to do after retirement, Kettler replied, "The first thing I have planned is to design my own headstone in a new typestyle." When asked what it would say, he replied, "You'll have to come visit me to find out!" Characteristics Courier is a monospaced font, also called a fixed-pitch, fixed-width or non-proportional font. This describes a font whose letters and characters each occupy the same amount of horizontal space , in contrast to variable-width fonts, where the letters differ in size from one another. Monospacing was initially a mechanical necessity for typewriters, that allowed the typewriter engineers a predictable unit of measure to advance the strike. When a key is pressed, a letter strikes the paper and the carriage moves along a fixed distance.

In the early days of Courier, the distinguishing feature of a typewriter font was not its typeface, but its pitch, which is the number of characters per inch. Pitch is a descriptor that can only be applied to monospaced fonts, not to proportional fonts, due to there nature of occupying the same amount of horizontal space. Courier was available in two different pitches : standard 12-point pica (10 characters per inch) and 10-point elite (12 characters per inch). It was later adapted to different point sizes from 6–12 points for the IBM Selectric. Form and Shape When Kettler started working on Courier he decided to construct a slab-serif typeface, which is characterized by thick, block-like serifs that are connected to the stroke without a bracket. Courier's serifs and stems are evenly weighted, sorting the typeface into the neo-grotesque model of slab-serifs. Other models are the Clarendon Model which feature bracketing and some contrast in size in the actual serif and the Italienne Model, featuring serifs that are even heavier than the stems.

Courier features a low cap-height (570 units in Courier compared to Times New Roman's 662 units) and an ascender to x-height ratio of 613:423 (Courier compared to Times New Romans's ratio of 683:450). It is interesting to note that the ascenders of lowercase letters exceed the cap-height of uppercase letters in Courier by more than 40 units . In the design process Kettler would often generate original sized mock ups and turn them around a full 180 degrees to make sure that not a single character stood out. This may be the reason for Couriers lack of extravagant letterforms. However, there are a few characteristc letterforms in Courier such as the lowercase a Courier New by bitterboy boy - issuu issuu Issuu on Google+ Courier New Courier is a monospaced slab serif typeface designed to resemble the output from a strike-on typewriter. The typeface was designed by Howard “Bud” Kettler in 1955.

The design of the original Courier typeface was commissioned in the 1950s by IBM for use in typewriters, but they did not secure legal exclusivity to the typeface and it soon became a standard font used throughout the typewriter industry. As a monospaced font, it has recently found renewed use in the electronic world in situations where columns of characters must be consistently aligned. It has also become an industry standard for all screenplays to be written in 12 point Courier or a close variant. The font was later redrawn by Adrian Frutiger for the IBM Selectric Composer series of electric typewriters. 1 2 point Courier New was also the U.S. State Department’s standard typeface until January 2004, when it was replaced with 14 point Times New Roman. Reasons for the change included the desire for a more “modern” and “legible” font. Kettler was once quoted about how the name was chosen. The font was nearly released with the name “Messenger.” After giving it some thought, Kettler said, “A letter can be just an ordinary messenger, or it can be the courier, which radiates dignity, prestige, and stability.

Writter : G. L. Mitchell Ariel ( 42408094 ) Source : Wikipedia A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z ! @ # $ % ^ & * ( ) All pages: bitterboy boy Follow publisher Unfollow publisher Be the first to know about new publications. Font Histories | Blog Font Histories Tweet Ever wonder how a particular font got its name? Or where it came from? Really, what does Helvetica mean? Did the Romans use Times New Roman? Is Arial named after a mermaid? Let’s find out. The Helvetica font is one of today’s most popular fonts. It is a sans serif style font developed in 1957 by Max Miedinger and has become one of the most anonymous looking fonts out there. It has been used so often that it has become commonplace.

In Latin, Helvetica means ‘Swiss.’ In fact, the Helvetica type face is based on the Swiss style of graphic design: a preference for san serif fonts, photography rather than illustrations and use of strict grid systems. Swiss style graphics became popular in the 50’s through early 70’s and Helvetica became an icon of this style. Most U.S. graphic designers embraced the Helvetica typeface during this time. Even after Helvetica fell out of favor, it was so widely available at typesetters and printers that it remained popular. Helvetica became the sans serif of choice with the introduction of laser printers and desktop publishing software, ensuring its place in modern times. Arial is another familiar font found everywhere, thanks to the dominance of Microsoft. During the early days of desktop publishing and as a workaround to using a specific PostScript font, developers began making PostScript font clones. Monotype developed a Helvetica knockoff and named it Arial. It appears to match the weight and proportions of Helvetica but is different in a variety of ways. When Microsoft adopted TrueType as their standard font format, they chose to go with Arial over Helvetica. Apple, on the other hand, went for the Helvetica over Arial and paid licensing fees to use the real thing.

Designers tend to shun Arial as a cheap knock off and as an unfaithful imitation of a no-longer-in-fashion typeface but clients often demand it because their existing work uses Arial and they have Arial on their Microsoft machines. Futura was another font that gained popularity during the 20th century. Paul Renner developed Futura in 1927 as a geometric sans serif font during a time of fierce competition between foundries. It has been said that Futura was the starting point of san serif history in our century. When first developed, the Futura font was radical and impressive with its strict geometric outline, lack of embellishments and unconventional shapes of its letters. Futura is unique in that it is the only typeface that has been granted copyright as an original work of art. Futura is the font of choice for Volkswagen and has been since the 1960’s. Verdana is a different type of font than those previously discussed. Verdana is a typeface developed specifically for the screen rather than the printed page. Virginia Howlett, Microsoft’s Program Manager of Typography, wanted a scalable TrueType interface font designed specifically for readability at text sizes for the release of Windows 95.

She hired Monotype and its designers, Matthew Carter and Tom Rickner, to design a font to meet these needs. When coming up with the name Verdana, Virginia was brainstorming names based on the word ‘verde’ for green, symbolizing the Evergreen State (Washington) and the Emerald City (Seattle) that are Microsoft’s home. Matthew Carter mentioned the age old tradition of naming fonts after the designer’s daughters. Since Virginia’s daughter was named ‘Ana’, the natural choice became, ‘Verdana.’ The Tahoma font is the actual basis for Verdana, think of Verdana as the wider cousin of Tahoma. Matthew Carter and Tom Rickner were the design team behind Tahoma as well. Tahoma is a font designed for the screen just like Verdana but it has an interesting distinction. It is a highly popular font in the Persian community. In fact, it is the most popular font found on Persian websites. The reason for this is because Tahoma contains the Persian subset. Another Microsoft inspired font, Georgia, was born soon after Verdana. Georgia is a screen serif font similar to a heavier looking Times New Roman. It has a traditional look yet is very pleasant to view on screen.

The idea for Georgia was intended for the Microsoft Network as an on screen alternative to Times. Both Georgia fonts and Verdana fonts are freely downloadable from Microsoft’s website. According to Microsoft’s Simon Earnshaw, ‘The whole point is to make them available to as many users as possible. The more people have the fonts, the more confident a web author can feel when specifying the fonts.’ For early Mac users, the Chicago font is an old friend. Chicago was originally released as the official system font on the original Macintosh computers. Chicago, a san serif font, looked good on screen because of its legible and pleasant bitmap. It was the default font in Macintosh Systems 1-7.6. Chicago was used for both menus and buttons throughout Apple’s operating system up until Mac OS 8 when Apple discarded Chicago in favor of Charcoal. But Chicago didn’t demise with the operating system. It is now found in some of the earlier LCD screens of iPods. Another Apple system font is called Geneva. Designed in 1983 by Susan Kare, the same designer of Chicago, it is a bitmap that imitates the icons of Swiss style design, Helvetica and Univers.

Once TrueType became available on the Macintosh platform, Geneva was converted from a bitmap font to a TrueType font. Eurostile is a font designed by Italian font designer Aldo Novarese. It’s dynamic, modern feel reflects the zeitgeist of the 50’s and 60’s and is intended for use in headlines and small bodies of text. Novarese took a sans serif font and distorted the shape into more square and rectangular forms. Originally Novarese and A. Butti designed a font in 1952 called Microgramma which proved to be a popular typeface. However, Microgramma was only available in capitol letters. Ten years later, Aldo Novarese added a full character set, including lowercase letters, and Eurostile was born. The square shaped letters with their rounded corners creates a look synonymous with the designs, technology and machinery of the 50’s. Times New Roman is one of the most successful typefaces in modern history. In 1932, The Times of London felt a need for a change in its typography. They wanted to create a more legible typeface without sacrificing the contents of the columns.

After numerous committee meetings, a 9 point type was finally commissioned and cut. The Monotype Corporation produced a full range of the new typeface. Consultations with experts were held about the type’s legibility. Not only did they examine the type, they spent many hours actually reading it, in varying lighting conditions to determine whether the font would cause fatigue after long sessions with the paper. It was eventually proved that Times New Roman was indeed readable in both good and bad lighting conditions. The switch to the new font generated a great deal of controversy and to this day, Times New Roman is the only typeface designed by a newspaper. In the 40s, publishers embraced Times New Roman for both its legibility and its space saving attributes. They could print more and use less paper during a time of paper rationing. It has since become the most successful typefaces in print and it has been said that most English readers come into contact with it on a daily basis. Courier is a typeface reminiscent of the old typewriter styles. Its characters all have the same width making it a monospaced font. Courier is considered one of the more recognized typefaces of the 20th century, a symbol of typewritten bureaucracy, classified documents and stark facts.

Courier was created by IBM in 1955 and soon became the typewriter font of choice. This wasn’t due to IBM’s dominance in the industry though. Rather because IBM failed to claim a proprietary stake in the font. Other typewriter makers adopted Courier. At the time, Courier looked modern and progressive. Because of its status as a typewriter font and its inferred symbolic government bureaucracy look, Courier is commonly used to convey secret government documents and espionage. It is also the font of choice for screenplay writers. No longer considered modern and progressive, Courier is often used to invoke nostalgia. Not only are today’s modern fonts based on older technology such as typewriters, many date back hundreds of years. Claude Garamond, a 16th century Frenchman, was one of the first independent typographers and was the first to offer affordable type to printers. His typefaces, developed between the 1530’s and 1545 are considered the highlight of 16th century typography. Garamond’s type was based on Roman italic cuts by Francesco Griffo decades beforehand. Over the years Garamond refined the type in later versions, adding his own variations.

Today’s modern day version of Garamond type, ITC Garamond, was designed in 1977 by Tony Stan. It is loosely based on Garamond’s 16th century forms and is suitable for advertising, packaging, manuals and handbooks. Fonts have survived the ages, making their way from cut forms to typewriters to the computer screen. While they might not be named after mermaids, each has a fascinating story behind its creation. About us UrbanFonts features an amazing collection of free fonts , premium fonts and free dingbats. With over 8,000 freeware fonts, you've come to the best place to download fonts! Most fonts on this site are freeware, some are shareware or linkware. Some fonts provided are trial versions of full versions and may not allow embedding unless a commercial license is purchased or may contain a limited character set. Please review any files included with your download, which will usually include information on the usage and licenses of the fonts. Navigation

Question: Originally commissioned by IBM in 1955, which typeface quickly became a standard throughout the typewriter industry?
Answer: Courier